Faith Tan is one of the three new additions to Dance House Helsinki's program team. The other two selected from this extensive search for talent that was initiated in the summer of 2018 are: Mikael Aaltonen from Finland and Pia Krämer from Germany. Director of Dance House Helsinki Matti Numminen says:

"It’s great that we got these experts to build the content of the house. The team has a strong understanding of the different operating environments of dance and the opportunities we have at hand. The programme team is responsible for planning the programme of Dance House Helsinki together with our partners. The content will vary from dance performance to events and projects involving audience development. In the autumn, we will begin to draw up the guidelines for our practical operating models, internal and external processes and the programme for the opening seasons,"

]]>Sat, 18 May 2019 17:07:38 GMTInterview Feature | Five Questions for: Johann Zietsmanhttps://www.ispa.org/news/news.asp?id=452138
https://www.ispa.org/news/news.asp?id=452138Having recently joined the Adrienne Arsht Center for the Performing Arts of Miami-Dade County as president and chief executive officer, Johann Zietsman shares his visions for the organization and the community.

"How do you go about deciding what we (Miami) need?"

"We’re kicking off that process with something we haven’t done for a while: we’re going to every one of the county’s 13 districts and doing a series of town hall listening sessions. We’re asking people what the Arsht Center has meant to them and what would they like to see more of, or differently or perhaps how the center can have a different impact on their lives. That will give me a good idea of what our stakeholders and universe would think of this county-owned facility. Everyone is welcome and if you can’t come to a meeting, you can go to our website’s homepage, where you can submit comments. "

]]>Mon, 13 May 2019 17:38:54 GMTChad Herzog Named Executive Director of UA Presentshttps://www.ispa.org/news/news.asp?id=452136
https://www.ispa.org/news/news.asp?id=452136Join us in congratulating Chad Herzog on his new appointment as the executive director of UA Presents at the University of Arizona.

Herzog will oversee all aspects of UA Presents, the UA’s performing arts presenter, by providing creative vision for the organization and curating programming. He is leaving International Festival of Arts and Ideas in New Haven, Connecticut, to join the UA Presents, starting August 12.

For over 10 years, Herzog was the director of performing arts at Juniata College in Huntington, Pennsylvania. There, he successfully developed innovative programming that grew participation by elevating the arts as a means of teaching and learning, integrating arts and culture into all aspects of campus life. Herzog created a model for artists and audiences to interact with one another not only through performance, but by commissioning new works and offering world-premiere performances. As a result, participation in Juniata Presents increased by 250 percent and student engagement rose by 700 percent. Read the full announcement on the University of Arizona website.

Simon Mellor is the Deputy Chief Executive, Arts & Culture, providing executive board leadership for the Arts Council’s international strategy. Simon recently attended the IFACCA Global summit to discuss current issues facing policy makers working in arts and culture. He tells us about his experience.

"In Kuala Lumpur I was with 430 delegates from 81 countries. This was the first IFACCA summit to take place in a Muslim country and it was especially noticeable what an impact the event had on our hosts. Malaysia is undergoing a quiet revolution, instigated last year by its first change in Government in over 50 years. It was exciting to hear local speakers talk about things that it would have been impossible to raise even 12 months ago. They were enormously proud to have hosted and organised the summit so well – and rightly so."

"...In all my conversations, I was struck by the extraordinary things that colleagues in Arts Councils and Cultural Agencies are achieving – often on minimal resources compared to us. What was also noticeable is the respect for the work of Arts Council England around the world. This was a profoundly comforting feeling as I watched from afar at the unfolding Brexit drama in Parliament last week. It also reinforced my determination to do everything I can to keep us actively connected to our international peers. We have much, much more that unites than divides us and I think we have a lot to learn from each other."

With many thanks and profound respect for his 33 years of service, Auerbach Pollock Friedlander announces that Steve Pollock, ASTC, is retiring from the firm. Steve joined S. Leonard Auerbach & Associates in 1985 and quickly became an integral part of and leader in the firm. In 2002, the company was renamed Auerbach Pollock Friedlander to signify the growth of the business and to recognize the established leadership team.

During his theatre consulting career Steve collaborated on well over 350 projects exhibiting an exceptional talent for facility programming and planning as well as theatre space and systems design. Throughout his career, he continually advanced the practice of theatre consulting through his activities with USITT and ASTC in addition to teaching, guest lecturing and writing about the fields of theatre consulting and architecture.

Margaret Lawrence has been named the director of programming for the Moss Arts Center at Virginia Tech and will lead the center’s performance season planning, integrating the many unique elements of programming, including community engagement and student learning, with a focus on diverse voices and meaningful experiences.

An award-winning arts administrator and performance curator with a strong track record of organizing and presenting culturally-inclusive arts projects, Lawrence comes to the Moss Arts Center after serving as the director of programming for Dartmouth College’s Hopkins Center for the Arts for 23 years.

Lawrence brings extensive experience supporting a mission-driven, multidisciplinary university performing arts program with a focus on diverse and world-class offerings. At the Hopkins Center, she curated a dynamic program of national and international artists that served both the Dartmouth campus and its surrounding communities, led commissioning efforts, and secured significant national funding for program initiatives.
“We’re extremely excited to welcome Margaret to Blacksburg to lead our programming team,” said Ruth Waalkes, executive director of the Moss Arts Center and Virginia Tech’s associate provost for the arts. “As a colleague of Margaret’s over the years, I have admired her work and always looked to ‘the Hop’ as a significant benchmark program. I look forward to working closely with her in this new position for the Moss Arts Center, to continue building on our successes and to increase our impact on all the communities we serve.”

Lawrence served as a member of the Hopkins Center’s senior leadership team, oversaw scheduling for two performing arts venues offering more than 300 events each year, and collaborated with faculty, students, community members, and organizational partners to develop innovative programming connecting academic and community audiences, introducing national and international emerging artists, and offering opportunities for deep curricular engagement.

Lawrence established artist residencies and developed programs that bring artistic experiences to places beyond the arts and humanities departments, including the Curricular Connections program, which identifies programmatic connections with Dartmouth curriculum and encourages faculty to integrate arts events into their coursework. The program engaged approximately 25 academic departments and between 60 and 70 professors each year.

Her Class Divide Project, a groundbreaking, multi-genre initiative exploring social and economic class, resulted in collaborations with many of Dartmouth’s research centers, the development of new curricular approaches, and multi-year funding from the Andrew W. Mellon Foundation. She also created STEMArts, a commissioning program embedding emerging music composers with university science and engineering departments that is fueled by the inspiring power of interdisciplinary discovery.

“I’m thrilled to join the Moss Arts Center at this exciting moment in its trajectory,” says Lawrence. “With the Center’s talented and inspired team, it increasingly plays a key role at the heart of one of the most forward-thinking universities in the country. So many rich, profound experiences for the Virginia Tech community are taking place, and I look forward to imagining the next artistic chapter together.”

In 2015, Lawrence received the William Dawson Award for Programmatic Excellence from the Association of Performing Arts Professionals (APAP). The award is presented each year to an individual or organization for the quality, innovation, and vision of program design, audience building, and community involvement efforts.

Lawrence has also served on panels for the National Endowment for the Arts and the Mid Atlantic Arts Foundation, and was a member of the board of directors for APAP for nine years. She has served as an international delegate to arts assemblies in over 15 countries and regularly collaborates with other arts presenters.

Prior to joining the Hopkins Center, Lawrence worked for six years at the Hult Center for the Performing Arts in Eugene, Oregon. She received a double bachelor’s degree in anthropology and humanities from the University of California, Berkeley.

Lawrence will begin her new position on June 25.

Opened in 2013, Virginia Tech’s Moss Arts Center presents renowned artists from around the globe and close to home, with a special focus on experiences that expand cultural awareness and deepen understanding. Uniquely partnered with the Institute for Creativity, Arts, and Technology, the Moss Arts Center houses the Street and Davis Performance Hall and its Anne and Ellen Fife Theatre, visual art galleries, experimental venue the Cube, and research studios. The center is creating a thriving creative community fueled by inspiration, where patrons have meaningful experiences, enjoying arts of the highest caliber in a wide variety of forms.

Thu, 11 Apr 2019 17:06:13 GMTSimon Brault Reappointed as Director of Canada Council for the Artshttps://www.ispa.org/news/news.asp?id=441116
https://www.ispa.org/news/news.asp?id=441116The Honourable Pablo Rodriguez, Minister of Canadian Heritage and Multiculturalism, announced the reappointment of Simon Brault as Director of the Canada Council for the Arts for a four-year term.

Simon Brault's accomplished career in arts and culture that has spanned more than 30 years. He served as Administrative Director and Chief Executive Officer of the National Theatre School of Canada from 1982 to 2014. He was also a founding member and Chair of Culture Montréal from 2002 to 2014. Simon served as Vice-Chair of the council's board of directors from 2004 to 2014 before being appointed as Director of the Canada Council for the Arts in June 2014. For his commitment to arts and culture, Mr. Brault has received numerous accolades. He is an Officer of the Order of Canada, an Officier de l'Ordre national du Québec, a Fellow of the Ordre des CGA du Québec and the Ordre des CPA du Québec. He was also the recipient of the 2009 Keith Kelly Award for Cultural Leadership.

During his first term as Director of the Canada Council for the Arts, Simon has overseen the first three years of the incremental doubling of the federal government's reinvestment in the organization. In his second term, he will continue implementing the remaining two years of this budget increase. Since 2016, Simon has also put in place a strategic plan that is showing results in increasing support for artists and arts organizations in the digital age, advancing reconciliation, and raising the international profile of Canadian artists.

"Under Simon Brault's leadership, the Canada Council for the Arts has vastly expanded its support to more artists of diverse backgrounds and disciplines across Canada. He is also a remarkable ambassador for both the Canadian cultural sector and the future direction of the sector worldwide. As he continues to implement the progressive doubling of Canada Council's budget, Mr. Brault will be a driving force in delivering on a vision that is bold, inclusive and innovative," said The Honourable Pablo Rodriguez

]]>Tue, 5 Mar 2019 18:07:37 GMTExit Interview: Perth Festival's Wendy Martinhttps://www.ispa.org/news/news.asp?id=441130
https://www.ispa.org/news/news.asp?id=441130As her fourth and final festival nears its end, Wendy Martin, Artistic Director of Perth International Arts Festival in Australia, reflects frankly on her triumphs and challenges in the role. Asked to name a highlight from her time in Perth, Martin said she is deeply proud of the connections the festival has made with Western Australia, Western Australian stories, and Western Australian artists.

With a four-month film season presented as part of the festival, as well as a visual arts program and Perth Writers Week, Martin said she also wanted to bring greater cohesion to the festival program.

"One of the things I wanted to do was break down the silos between those different programs so that they all speak to each other, and I feel that we’ve really done that."

]]>Wed, 27 Feb 2019 18:27:01 GMTSound Space Vision Provides Acoustic And Audio Solutions For Hong Kong's New Xiqu Centrehttps://www.ispa.org/news/news.asp?id=441141
https://www.ispa.org/news/news.asp?id=441141Sound Space Vision (SSV) proudly announced to have been part of the design team for the beautiful Xiqu Centre, the first finished building in Hong Kong’s new West Kowloon Cultural District, which opened with a grand ceremony on January 20, 2019. The Xiqu Centre serves as the gateway to the district and is, fittingly, dedicated to the performance of Chinese Opera (Xiqu) and as the centre for preservation and development of the variety of Chinese Opera art forms.

SSV was responsible for the acoustics and audio systems in all the Centre’s spaces, including both amplified and un-amplified performances in the 1073-seat Grand Theatre, and the 150-200-seat Tea House; a well-equipped Seminar Hall; large and small rehearsal facilities; a recording/broadcast suite; and the impressive semi-enclosed 17m-high ground-level Atrium. Anne Minors, co-founder and Design Principal of SSV, says:

“We were well-prepared for this particular form of opera house having spent many years visiting Hong Kong arts groups, and building on our enthusiasm of Asian arts while working on the theatre design and acoustics for Singapore’s Esplanade.”

In planning the acoustics and audio design for the Xiqu Centre, and the Grand Theatre in particular, SSV took into account the heritage and expectations of Hong Kong audiences and practitioners, and those of visiting artists from mainland China and international patrons and artists.

SSV co-founder and acoustician Bob Essert explains, “The overall aesthetic aim of Xiqu is beauty in all aspects of performance. Practitioners talk of roundness of movement, singing, and instrumental tone. Vocal technique is very different from Western opera, and while individual instrument sounds are not unlike western instruments, the orchestrations and relation to the singers are quite different.”

Alistair has led the organization for over 15 years, turning it into one of the world’s leading producers of contemporary dance. Sadler’s associate artists are among some of the the most critically acclaimed choreographers in the world, with Crystal Pite, Akram Khan and Wayne McGregor all on the roster. Likewise, the house has partnerships with the dance world’s leading companies like Rosas, Tanztheater Wuppertal Pina Bausch and English National Ballet.

In an interview with the International Arts Manager magazine, he tells how he maintains his motivation.

“I suppose a lot has happened and a lot keeps happening,” says Spalding, when I mention his longevity. “Each of our associate artists has kept moving forward in a strong way. That’s been a gift – they keep producing interesting work and developing, which inspires me to do the same.”

Henry Timms has been appointed the new President of CEO of New York's Lincoln Center for the Performing Arts. The 11th person to hold this position, Timms brings expertise in arts and culture as well as the non-profit realm, having served as the President and CEO of the 92nd Street Y and having launched the #GivingTuesday campaign, a social movement that encourages people around the world to consider charitable activities during Black Friday and Cyber Monday. Board Chair of Lincoln Center for the Performing Arts Katherine Farley said:

"Henry is a trailblazing leader of the highest caliber. His combination of collegiality, digital savvy and transformational thinking will be an enormous asset as we develop exciting new projects, and bring the well-known excellence of the arts at Lincoln Center to the broadest possible audience. Henry's signature style is collaboration, complemented by innovation, ingenuity and enthusiasm, which will serve him well as he works closely with all of our constituent arts organizations."

Timms will join Lincoln Center in early May 2019. In the interim, Acting President Russell Granet will continue to work closely with Katherine Farley and senior management, including Chief Operating Officer Liza Parker, to ensure a successful transition.

Carlos Acosta CBE, the Cuban-born ballet superstar and award-winning former Principal of the Royal Ballet, has been appointed as Birmingham Royal Ballet’s new Director. He succeeds David Bintley CBE, who has led the company for 24 years, and who will step down at the end of this season, in July. Acosta will work alongside BRB’s chief executive, Caroline Miller, who was appointed on a permanent basis in December 2018. Acosta said:

“My ambition is to build on its classical traditions, to expand its repertoire and to reach out to new and more diverse audiences. I want to define what it is to be a world-leading classical ballet company in the 21st century.”

In this first-person feature on International Arts Manager, Matthew VanBesien, the former president of New York Philharmonic and current president of Michigan’s University Musical Society (UMS) writes about how swapping his seat on stage as musician for life as an arts manager was the best decision he ever made.

My leap to arts administration cannot be neatly explained, though I can say that it was partially driven by my experiences in New Orleans, and a need to have a more purposeful impact on society through the arts. Was I thinking about how orchestras and classical music organisations could operate differently, evolving into cultural and civically-minded ensembles even back then? Yes. Did I have any sense of what I could do about it? Not in the slightest.

The Royal Shakespeare Company has partnered with Punchdrunk UK and video game company Epic Games as part of an £18 million scheme, exploring virtual reality across entertainment industries. It is one of the three projects that have been awarded the funding from Innovate UK as part of its Audiences of the Future program, which aims to make the UK a world leader in immersive technologies.

Alongside 12 other organizations from the music industry, video production, gaming and research sectors they will work to develop new ways of bringing virtual reality (VR), augmented reality (AR) and mixed reality (MR) into the world of performance, allowing audiences to watch live shows from their own homes using devices such as mobile phones or custom-built headsets.

]]>Tue, 15 Jan 2019 17:25:07 GMTOpera Star Shows Ten Aspiring Singers How It’s Done at the IRCPA Encounter Masterclasshttps://www.ispa.org/news/news.asp?id=430732
https://www.ispa.org/news/news.asp?id=430732Toronto's International Resource Centre for Performing Artists (IRCPA) founded by Ann Summers Dossena, our long-time member and the 2014 award recipient of the International Citation of Merit was featured in online classical music magazine Ludwig Van with an interview of soprano Adrianne Pieczonka who hosted the latest annual IRCPA event, "Encounter" where ten aspiring singers spend a day with an established artist, who gives vocal and interpretive pointers in the studio, as well as share his/her insights in the ways and means of a career.

The brainchild of Canadian artist agent/arts administrator/impresario Ann Summers, IRCPA is a service organization for musical artists, with the goal of helping young artists to make a successful transition from students to professionals and celebrated its 35th anniversary in October. Among the many singers IRCPA has supported in the past are Adrianne Pieczonka, Isabel Bayrakdarian, and Colin Ainsworth.

]]>Fri, 14 Dec 2018 20:55:21 GMTWorld's First National Indigenous Theatre Company Opens in Canada Next Yearhttps://www.ispa.org/news/news.asp?id=430722
https://www.ispa.org/news/news.asp?id=430722The inaugural Indigenous Theatre (IT) season will open at Canada’s National Arts Centre (NAC) in Ottawa next year, a place where English-speaking and French-speaking theatre artists have thrived for five decades. IT’s artistic director Kevin Loring (who will also be speaking at the upcoming New York 2019 ISPA Congress!) and managing director Lori Marchand talk about reclaiming lost voices and creating a future in the context of a harrowing past. Kevin Loring explains his approach across the nation:

“There are Indigenous artists creating work all over Canada. We’re putting together a programme that reflects experiences from across the country, from the Atlantic to the Pacific and the Arctic.”

]]>Mon, 10 Dec 2018 20:21:40 GMTWiener Konzerthaus Announces Debt Reliefhttps://www.ispa.org/news/news.asp?id=430726
https://www.ispa.org/news/news.asp?id=430726Austria's Wiener Konzerthaus, one of Europe‘s leading concert venues, announced early December that, following many years of budgetary difficulties, a loan for the renovation of the Wiener Konzerthaus amounting to 6.41 million Euros will be paid off at the end of this year. In a joint effort, the Wiener Konzerthaus, the Federal Government and the City of Vienna have found a way fully to relieve the Wiener Konzerthausgesellschaft of this long-standing debt. As Konzerthaus President Dr Konrad said: ‘This is a milestone in the history of the Wiener Konzerthaus.

The general renovation of the house, undertaken between 1998 and 2001, included the completion of much needed maintenance work as well as an improvement of the building’s functionality to an international standard fit for the future. This has made the Wiener Konzerthaus one of the most effective concert venues worldwide in terms of building, functionality and acoustics.

The Wiener Konzerthausgesellschaft, which has been responsible for maintaining and running the Wiener Konzerthaus for 106 seasons now, is a membership-based, non-profit organisation that is mostly privately sponsored. Only a few years ago, it was faced with an economic situation
that seriously threatened the long-term integrity of its creative planning and independence.

]]>Fri, 7 Dec 2018 20:42:09 GMTIETM Announces Ása Richardsdóttir as New Secretary Generalhttps://www.ispa.org/news/news.asp?id=426179
https://www.ispa.org/news/news.asp?id=426179Brussels-based IETM - International Network for Contemporary Performing Arts has appointed Iceland’s Ása Richardsdóttir as its secretary general effective February 1, 2019. Richardsdóttir has played a prominent role in the evolution of Iceland’s contemporary performing arts scene: she is currently the director of Ice Hot Reykjavík 2018, project ambassador for the Nordic Culture Fund, and a long-standing member of IETM.

Ása has led a versatile career in arts, culture, academia, banking, politics and media, during three decades. She started her career at the age of twenty as a producer at RÚV State Television Iceland, became their news correspondent during her university years in England and once finished with her BA studies became a television reporter of international news at RÚV.

Ása said:

IETM is one of the most important networks of arts organisations in the world. The opportunity to represent it is a fantastic one. I have been a member for 18 years and I look at IETM as my most important professional family. To be offered to lead this family is an honour.

“Steve, Patty, and Tom have risen to be the mainstay of the company and I have every confidence in their abilities to both lead the ﬁrm and to continue a tradition of design excellence and professional services that are our foundation and reputation,” remarked Auerbach, who will continue at the company as director of design.

Added Friedlander:

The shift in Len’s responsibilities will allow him more time in the studio for project design and mentorship. The foundation of quality in practice and design that Len has established allows us to continue to innovate and provide the level of service that distinguishes the ﬁrm.

Friedlander remains as president, with Glasow as executive vice president and Neville as director and principal in charge of the Minneapolis office.

]]>Sat, 3 Nov 2018 18:15:39 GMTAustralia Council Appoints Arts Leader Adrian Collette AM as CEOhttps://www.ispa.org/news/news.asp?id=426167
https://www.ispa.org/news/news.asp?id=426167The Australia Council for the Arts has appointed arts leader Adrian Collette AM as its new CEO, effective January 2019. He held the position of Chief Executive of Opera Australia, Australia’s largest performing arts company for 16 years and has also worked in book publishing for a decade, including as Managing Director, Reed Books, a Division of Reed Elsevier. His current role of Vice-Principal (Engagement) at the University of Melbourne includes the oversight of the University’s museums and galleries and its many arts sector partnerships. The Council noted his close collaboration with the university’s indigenous leaders and scholars, and that his achievements in the university’s civil engagement would further the Council’s ongoing advocacy for the public value of the arts and their place in the lives of all Australians.

Australia Council chair Sam Walsh AO said:

Adrian is an outstanding leader who brings a wealth of experience and unwavering passion for the arts to this role. He also brings deep knowledge of the Council through his valuable contribution as a Council Board member. We are very confident that Adrian will deftly steer the Australia Council through its next exciting chapter, ensuring the Council’s ongoing commitment to the arts enriching the lives of all Australians.

Collette acknowledged the contribution of outgoing CEO Tony Grybowski “who has taken the Council through its most significant transformation in its 50-year history.” He also added:

I am looking forward to working with the Council Executive and staff to continue our important work of championing and investing in the arts so that the great benefits of the arts may be experienced by all Australians. Creative endeavour is increasingly being recognised as essential to more vibrant, prosperous and inclusive societies. I believe we need to listen to all our communities and respond with fresh approaches to supporting Australian arts and culture. This means opening doors to support for new forms, diverse practice and celebrating our extraordinary First Nations arts.”

Tessitura Netowrk, a leading tech company for the arts and cultural sector with its enterprise CRM system that powers key business functions for arts, cultural, and educational organizations, announced that David Pearce will join the global leadership team as Managing Director, Europe. In this new role, David will serve as strategic leader for the Tessitura European team. He will direct the entire team to provide exemplary support and service for Tessitura member organizations, while continuing to grow the Tessitura community in Europe.

David who has been part of the ISPA community from his previous time serving on the executive leadership team at Wales Millennium Centre says:

“Tessitura’s global success is due to its unique culture of innovation, service, and community focused specifically on the arts and culture sector. I am honoured to join the existing strong team to continue the Network’s presence in Europe, and to help Tessitura members improve their business through Tessitura software and thought leadership.”

Former ILBIJERRI Theatre Company Executive Producer Simeon Moran has been announced as the Executive Producer of Asia TOPA: Asia-Pacific Triennial of Performing Arts in 2020. Created by Arts Centre Melbourne and presented by a consortium of Melbourne’s leading cultural institutions, Asia TOPA: Asia-Pacific Triennial of Performing Arts, is a festival-style celebration of Asian-focused performance and culture, from the hottest contemporary performance to the boldly iconic and sublimely classical.

Simeon Moran is an experienced creative producer and arts leader who is committed to supporting innovative arts practice, particularly in cross-cultural and collaborative contexts. He comes to Asia TOPA fresh from a one year sabbatical travelling remote Australia in a 4WD with his family. About his appointment, Simeon says:

I am really thrilled to be joining the Asia TOPA team and getting the opportunity to work with the festival artists, consortium, and partners. It will be an honour to support the vital work of Asia TOPA in building artist led contemporary dialogue and creative cultural exchange within our region.

Asia TOPA 2020 will further position Melbourne firmly on the Asia-Pacific cultural map in terms of innovation, new ways of working and exciting inter-cultural commissions and collaborations. The team have already joined international cohorts including the West Kowloon Cultural Authority (Hong Kong), the Singapore Festival, TPAM (Tokyo), The Esplanade (Singapore), and the Museum of Modern and Contemporary Art (South Korea) in planning and developing creative repertoire for 21st century audiences.

Further details about Asia TOPA’s 2020 programming will be released in 2019.

This two-day seminar, as a part of Summit-Plus Program of Hong Kong Arts Administrators Association's Cultural Leadership Summit 2018, will will provide immersive training for top and senior cultural executives from Hong Kong and the Asia Pacific region.

Learning Objectives

Spend two days with peers and faculty in thought-provoking conversations and sessions designed to improve your overall leadership abilities and expand your strategic perspective. We’ll focus on select core management concepts which relate to building a clearer perspective for your own organization; forming strategic alliances; and ways to think about leading change and driving growth while keeping an eye on sustainability.

Format:

2-3 strategic frameworks and a combination of mini-lectures to frame concepts

Facilitated discussions to share experience in the room

Exercises to apply frameworks

Sharings on empirical research and case studies/stories

Networking

Group presentations

Expected Outcomes

Leaders feel challenged to look at the problems they work to combat every day with fresh eyes and use new frameworks to move to solve the problems.

They feel curious to learn more about the strategic framework for continued growth / development (corporation as a whole and their touring efforts).

They come away with a clearer understanding of their corporations’ mission, brand and focus.

Leaders from various sizes and needs exchange work expertise and diverse perspectives.

They find the course entertaining and faculty knowledgeable of the frameworks and industry.

Arts Leaders Program: for mid-career and established arts professionals. Activities run over a 12 month period and include three trips to Australia and Indonesia to attend five-day residential workshops.

Future Leaders Program: for arts professionals who are in the first 10 years of their career. Activities run over a six month period and include two trips to Australia to attend five-day residential workshops. This program offers an optional secondment at an Australian arts institution during one of the visits.

Both programs also include online meetings, course materials, a leadership project and engagement with other participants via an online learning platform.

Selected participants will receive a full scholarship that covers air travel to and from Australia, visa applications, accommodation and access to online materials. There is no fee to join the program.